The conclusion of the poem, marked by the disintegration of the page and memory, ultimately realizes the initial promise of the primal utterance introduced at the poem's outset. The sibilant sounds (sea, sapphire, promised, infancy) from the first stanza gain prominence in this final section, intensifying within the auditory space through words like sand, us, abyss, serpent, swam, sun, and unpaced.

the interrogative phrase “And had I walked the dozen particular decimals of time?” introduces an element of irony into the narrative voice, casting doubt on the poetic "I"'s return to the ravine of memory, its immersion in time, & its personal history. This irony is further underscored by the interaction between the "I" & the thief, emphasizing a fundamental division in the discourse: rather than a singular unified subject as at the poem’s outset, there are now two distinct figures.

Now, this stanza's abruptness halts this dual movement operative in the previous stanza. The undifferentiated space of the last stanza is restructured within the valley, reflecting the poet's reconstitution, comforting the impossibility of his own destruction. "Heart" invokes Crane's name (often times signing his letters with a <3 drawing), as a man rooted in history and his own narrative. No long the poetic I, rather the "you" -- a split in identity.

This 3d stanza serves the pivotal juncture in the poem: delineating the boundary between the ravine & the horizon of valleys that unfold in the poem. Whereas the previous stanza is rich in space (minerals, veggies, animals), this stanza represents the void, the anti-place epitomized by the "without". From a world of richness to one of dissolution & shadows: immaterial, abstractions, such as movement, air, vibrations and scent.

The opening line's image presents a cedar leaf carving a gap in the sky —an interstitial space that, through the phenomenon of synesthesia, enables the poet to perceive the sea's voice & the promise of a return to a childlike state. The stanzas introduce a rite of passage, but one that is markedly reversed: rather than the usual transition from childhood to adulthood, this passage represents a regression.

In this way, #HartCrane is the consummate passenger on a voyage: an individual whose transitory existence challenges conventional notions of belonging & rootedness (see Victor Turner's Dramas, Fields, and Metaphors, Ch. 6). Per Turner, Crane's efforts to evade social structure & occupy a liminal space is evident where he embeds his own sense of marginality. He constructs Passage as a text that deliberately disrupts the syntactic and semantic framework dictated by conventional grammar/logic.